This post is part of a series called One Year in Sound by sound designer Carlo Ascrizzi.
Ready for next step in Sound Design? It’s never enough for me! After psychopathic scenes, weird sampling and imaginary soundscapes, it’s time to make some noise with Kyma and SuperCollider!
You learn SuperCollider in the class, having an understanding of how to integrate it in your workflow. Analyzing the main tools as well as the SynthDefs, you’ll also have the chance to explore the available UGENs (unit generators). A lot of practice has been made through modifying and breaking patches and creating some new ones of your own. One class is dedicated to the OSC protocol and playing around using a Wiimote to control SuperCollider… so funny!
Now it’s time for Kyma, located in the SoundLab, back to back with other friends, like the Doepfer A100, which I used for ringtones and other analog weirdness …
Well, Kyma it’s huge but you are lucky… not everyone has the chance to play with this powerful guy. So time to focus on the main functions, the TAU editor, morphing tools, granulations… sick!
As a final assignment you should have to create a sci-fi sound design library in the vein of a digital realm. The library includes categories like Electronic Devices, Ambiences, Mysterious Sounds and Weapons. You have your Sound List, so you can choose to create your sounds using SuperCollider or Kyma, also including other tools if you want.
What I decided it was to not use other tools to pump up my library, but just my original sound directly from my Messing Around Kyma Session.
Here some samples from my library… enjoy!
- When you are back home: final thoughts on Resonate 16 - April 20, 2016
- 5th day at Resonate 16 with Artists and Engineers, Nicholas Felton and Memo Akten - April 17, 2016
- 4th day at Resonate 16 with Squarepusher, Atau Tanaka and Darsha Hewitt - April 16, 2016
